Caspar Heinemann at Cabinet – Artforum International
The irreverence of Caspar Heinemann’s exhibition “Glorie” is encapsulated by the title of a paper chain strung diagonally overhead like bunting, a proper allusion to fisting: And I’ve taken different guys there, too And it’s realer and extra essential to me than your world That’s all, 2022. The same tone pulses by Novelty Idea, Heinemann’s 2019 poetry assortment. (“Destroy purity however go away a droplet behind to thrive / to be sure to’ve actually destroyed purity.”) This publication sits on the entrance desk alongside Free Recordsdata, 2022, a handful of emery boards inside a tin of Huberd’s Shoe Grease, utilized by the bootlicking leather-fetish group as a body-safe lubricant. The polish can be discovered smeared across the entrances to Glorie #1−#9, 2022, a collection of chook bins that double as glory holes. Paying homage to Mike Kelley’s Catholic Birdhouse, 1978, they should have been a pleasure to make. Handcrafted from recycled cardboard packages, the objects include string, wooden, tape, dental floss, and white acrylic paint put to each constructive and ornamental ends.
Within the darkened basement, Pageant of Mild, 2022, fills the house with a chapel-like glow, due to eight electrical fireplaces put in with their backs towards the partitions. The factitious fires trace on the communal heat of bathhouses and on the conjoined gasoline and cost-of-living crises. As my eyes slowly modify, they’re drawn to plugs and extension cables, then again to the flames. The holes on the bottom ground and the heat produced downstairs fuse notions of holiness with acts of hospitality.
— Lizzie Homersham
